Argo (2012): Affleck’s Breakthrough

Argo is a carefully observed, tightly constructed, thrilling and occasionally absurd (true) story of the effort to rescue six Americans caught in Tehran during the 1979-81 hostage crisis. Even though you may know the outcome, as I did, the film is consistently entertaining and compelling. This may well be Ben Affleck’s breakthrough picture as a director. He also co-produced and stars in the movie, one of the best pictures of the year.

Working with a sparkling ensemble cast and a lively screenplay  (Chris Terrio), Affleck gets terrific dramatic performances from his actors, so much so that we forget that’s what they are. In the Tehran sequences, few are household names, but every one is excellent. Affleck himself gives a fine, nuanced performance as Tony Mendez the real life CIA extraction specialist  (an expert in getting people out of tough spots), who comes up with the scheme to extract the six fugitives from their hiding place, and then slips into Tehran to effectuate the plan.  Ben the director knows the limitations of Ben the actor (not great at demonstrative emotionality), so he takes the Clint Eastwood approach: subtle changes of expression, extreme close ups, and careful delivery of his lines.  As with Eastwood, his square-jawed good looks help, but the minimalist acting style works. There’s no grandstanding here. Affleck manages to (almost) disappear into the role, giving a sincere, subtle affecting performance. There’s a great moment when, as it appears that success is at hand, Affleck/Mendez flicks his eyes upward, connoting a silent thank you to God for deliverance. It’s brief, but it’s perfect.

Mendez’ extraction scheme involves setting up a phony film production company, that will be scouting locations in the middle east, including Tehran, and capitalizing on this ruse to sneak out the six Americans. As Mendez admits when pitching his plan, it’s a terrible idea, but it’s the best bad idea CIA can come up with. Mendez enlists a couple of tinseltown old timers, John Chambers (John Goodman) and Lester Siegel (Alan Arkin), to head the ersatz movie project and give the enterprise verisimilitude – knowing that the Iranian authorities will check. (The purported movie in pre-production is called Argo.) Goodman and Arkin are hilarious in their bits, and this story within the story allows Affeck and company to take some knowing, satirical pokes at the Hollywood scene.

We can’t give Ben all the credit, of course. His cinematographer, Rodrigo Prieto (Amores Perros, Frida, 8 Mile, 25^th Hour, 21 Grams, Brokeback Mountain, Babel, etc.) does a brilliant job as well. Together these two are able to bring us into the American Embassy to see and viscerally to feel the confusion, apprehension, fear and panic experienced by the diplomats, aides, interpreters and others working there as they watch the large, angry, infuriated mob of Islamic revolutionaries gather at, then overwhelm the gates to the complex and stream inside; then as our people realize, with horror, what’s about to happen: they will be taken hostage or worse. Later, we are flies on the wall – actually, more like silent participants – as the six Americans wrestle with their fears, as their relationships begin to fray, as they debate whether to risk their lives participating in the proposed rescue effort or face the uncertain, possibly mortal risks of remaining in hiding.  The direction, the camera work, the close ups, and the editing all come together to provide us with a thrilling, edge of the seat experience.

One of the virtues of Argo, is that it doesn’t demonize the Iranians. Indeed, the film begins with a context-setting preamble, sympathetic to the overthrow of the US-installed Shah and which explains Iranian animus toward American policies in the region.   Nor does Argo glorify America, particularly. (Canadians do get a bit of glory, but you’ll have to see the movie to understand). That’s not to say that you won’t leave with an appreciation of the heroism of many of the characters. Mendez and others like him do what they do, often at tremendous risk, with no expectation of reward or celebrity, just because it’s important and right, and it’s their job. Mendez’ story was buried as ‘classified’ for twenty years after the events depicted in this movie. That was probably fine with him. But I’m glad he’s getting his due now.

Argo will not change your life; it’s just a terrifically well-made movie. In this respect, it brings to mind Stephen Spielberg’s Catch Me If You Can (2002), another dramatization of an amazing true story, although Argo is richer in many ways. It’s rare to walk out of a picture feeling like it was pretty close to perfectly realized, and both of these movies deliver that feeling.

Stay for the credits, and you’ll experience yet another way Argo excelled: casting and costuming.

In wide release.